Monir Farmanfarmaian

Gallery Waterhouse & Dodd, London 
Galerie F. Hessler, Luxembourg (acquired directly from the above in 2008)

London, Gallery Waterhouse & Dodd, Routes, 2008

Rose Issa, Monir Shahroudy Farmanfarmaian: Mosaics of Mirrors, Tehran 2008, p. 46, illustrated in colour
Exhibition Catalogue, London, Gallery Waterhouse & Dodd, Routes, 2008, p. 17, illustrated in colour

Condition: This work is in good condition. There are few and very minor cracks to the strips of mirror throughout and a fine crack to the red reverse-glass 15cm below the upper right corner, only visible under close inspection and all of which are in keeping with the artist's choice of medium and working process. Colour: The colours in the catalogue illustration are accurate; although, the red and greens are more vibrant in the actual work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

At the age of 89, Monir Farmanfarmaian is considered a pioneer within the contemporary Iranian art world. She is a source of great inspiration and reverence for the current generation of Middle Eastern artists. Farmanfarmaian’s artwork draws inspiration from classical Iranian culture and tradition, which is translated both conceptually and in the technical execution of her works. The intriguing combination of traditional and avant-garde creates an elegantly distinctive style which the artist applies to reinterpret Islamic geometric designs in a variety of mediums, often glass or mirror.

Farmanfarmaian’s curiosity and thirst for cultural exploration fuelled her extensive travels within Iran during which she studied the crafts of nomadic tribes and visited various ancient cities to closely study intricate Islamic architectural ornamentation. Subsequent to her travels, Farmanfarmaian started to experiment with the techniques and methods she had observed, readapting reverse-glass painting, Khatam kari (inlaid marquetry), Aineh-kari (mirror mosaics), and typical Persian motifs, to create modern minimalist geometric artworks on mirror, each piece mesmerisingly kaleidoscopic in nature. Mirror work was a defining decorative feature of Persian stately homes and palaces, the Hall of Mirrors in the Golestan Palace and the Shrine of Imam Reza being two architectural structures which feature archetypal execution of this ornamentation.

Through her work Farmanfarmaian reinvents the idea of mirror mosaics, transforming and elevating its purpose from decoration to an individual art form in its own right. The artist’s use of mirror acts as a record of her life experiences, each fragment reflecting the surrounding world, referring to notions of one’s self, nostalgia and memories. Her work also explores different notions of Sufi symbolism: a reflection of the self, the mirror is also variously associated with purity, brightness, symmetry, veracity and fortune. Due to the nature of Farmanfarmaian’s compositions, tessellating patterns give the impression of unending repetition, a symbol of infinity and the boundless nature and wisdom of God. Ultimately, Farmanfarmaian’s work is a magnificent celebration of classical Persian art and the various nomadic craft techniques the artist absorbed during her travels. Her artwork is a spiritual and visual amalgamation of Persian elements translated through her innately recognisable visual vocabulary to create cutting edge work with a modern aesthetic, resulting in an ever widening global audience that is fully able to appreciate Farmanfarmaian’s rich cultural heritage.